“For me that is grace,” she says of her character’s dumbstruck confusion in the face of her irrevocably altered life. “I am really interested in silence. In inarticulacy also, which isn’t the same as silence. As a performer I like looking at the gaps between what people want to communicate and what they can communicate,” she adds. “I love good filmmaking that isn’t just about really proficient writers of dialogue, who think that everybody’s really articulate and everybody can hear each other really well. That doesn’t feel true to me, actually. I mean, that’s a fantastical universe.”

B. I was thinking about how this is one way film and radio can usually be truer than books, b/c we are so wired to fill in the gaps of inarticulacy with our own interpretations of facial and vocal expression, wheras its maddening on the page. This is the single greatest daunting thing to me about writing fiction–getting voice right without getting sucked into an overly accurate transcription.